Happy Easter + ARPYBB and Rowan Studio schedules

Had a wonderful couple of services performing at church with my daughter Kate this weekend. We played a cornet duet for both Easter Vigil and Easter Sunday services.

Now back to the rest of the semester:

For the ARPYBB folks we start again next Sunday, 27 April. Then we have rehearsals on the 4th and 11th. Our final gathering is 18 May at 3PM for the Celebrate Hope Concert with ABB at the Frank Lloyd Wright Designed

Beth Sholom Synagogue
8231 Old York Road
Elkins Park, PA 19103

For the Rowan Trumpet Studio, the incoming class is taking shape. Soon, we should have announcements on our numbers and who our new colleagues will be. As we wait, keep in mind we have only 2 weeks left of classes. Then we have Brass Juries during Finals Week (May 6-8), and on Friday, May 9th we have Sophomore Proficiencies for 4 of you. GOOD LUCK!

Welcome Back

It was a crazy Spring Break at Rowan (Mid-Atlantic Brass Band Festival AND Northeast Horn Workshop on consecutive weekends) and for ABB (we also performed at The National Trumpet Competition) but we are glad to be back in classes for the 2nd half of the semester.   This morning I will take a few trumpet students students into Philadelphia to visit Temple University for a trumpet master class with Terry Everson.  We are looking forward to learning lots of great new information.  Prof. Everson is also giving a recital at Temple later tonight.

Ronald Romm and Robert Sullivan rehearse at Rowan + the NEHW is here this weekend!!!

Reh with Sullivan and RommTonight (7:30-9:30) in Pfleeger Concert Hall, Ron Romm and Bob Sullivan will be in rehearsal with The Atlantic Brass Band in preparation for this weekend’s performance at The National Trumpet Competition.   You can come listen!

Also, The Northeast Horn Workshop is at Rowan this weekend.  Horns everywhere!!!  Registration opens at 1:00 on Friday.  Hope to see you there!

Wonderful job by AYBB!

What a wonderful performance by the Atlantic Youth Brass Band yesterday as part of The Mid-Atlantic Brass Band Festival at Rowan University.  You should all be very proud of your work and effort.  The coaches and I were very impressed.   I am looking forward to the next concert with AYBB in May.  Congratulations!

Articulation Routine from Peter Bond (UPDATE)

After seeing the post, Pete sent along some notes to consider as you play through his PDF.

Rhythmic Articulation
In this study you are practicing:
  • Setting up to play (take mouthpiece off the lips during rest bars).
  • Coordinating and controlling entrances with metronome.
  • Subdivision.
  • Rhythmic precision.
  • Maintaining a clear and vibrant sound during articulated passages.
Some players find it helpful to breathe rhythmically; inhaling on the last beat of rest, or “pulsing” a breath over several beats. Rhythmic or not, keep the breath quiet and tension-free.
-Keep all notes lively and buoyant. Create musical sounds, not noises.
-These studies should feel more like speaking than “blowing and tonguing.”
-For instant response, some players find it helpful to think of the notes as happening inside the mouth, like little firecrackers going off.
-Try to play exactly with the metronome, not after the “click”.
-Start with a buoyant, detached style. Later, practice legato, staccato, accents, etc. Note: for all styles, the actual articulation remains the same, but the energy and note lengths change.
-Articulate like you speak. If you can say it, you can play it.
>Multiple tonguing, start at mm=80. T & K should sound identical; like R and L strokes of a drummer. Mastering clear multi-tonguing at ALL tempos can solve the problem of passages that seem too fast for single, yet too slow for double or triple.
>Practice double tonguing the dotted eighth and sixteenth patterns; Tu Ku-Tu, Ku-Tu, Ku-Tu. This technique is useful for rapid dotted figures (ex: Sheherazade).
> Use metronome as upbeat (triplets will become more challenging).
A word about accents
Many players “tongue harder” for accents, pressurizing the air and creating an explosive attack. Instead, create accents just as you do in speech. For example, shout “Timpani!” Notice that you did not explosively pressurize the “T,” but the accent came after the consonant. Play your musical accents the same way.
Exceptions: in big band jazz and some other commercial music, pressurized, explosive accents can be idiomatically correct.

from Peter Bond.

Peter Bond PDF

Looking for Practice Techniques and Advice?

Look no further than Jason Sulliman!  His website (found HERE) has some great advice and techniques.

I have found these two, to be very helpful in my current projects but all of this stuff is excellent.

This one on FAST PRACTICE is outstanding.

This one on METRONOME PRACTICE is also excellent and will make your head hurt.

You can download his Random Metronome and Intonation CD’s at iTunes and CDBaby.  I have been using them in lessons and in my own practice for a couple of weeks now.